Hot on the heels of the third volume of Hyperion’s series of Martinu’s works for violin and orchestra (7/08) – but, crucially, ahead of their release of the concertos – comes this brilliant new account of the Second Concerto (1943), played with verve and a real feeling for the idiom by Isabelle Faust. Her recordings of the concertos by Hartmann (12/00) and Jolivet (2/07), for example, show what a fine player of the modern repertoire she is and her sweet, precise tone allows Martinu’s angular lyricism – or is that lyrical angularity? – to open out for maximum appeal. Superbly supported by the Prague Philharmonia under Belohlávek, this is as brilliantly played an account as has appeared on disc.

Orchestra and conductor are heard to excellent effect in the other major work, the Toccata e due canzoni (1946). Written for Paul Sacher, this invigorating cross between chamber symphony and concerto grosso (though with an extensive piano part, played with nicely suggestive power by Cédric Tiberghien) is both a product of its time – catching the relief, horror and war-weariness in equal measure – and a timeless classic. Yet through its many dramatic moments Martinu’s radiant humanism, overtly displayed in the Concerto, shines through. Despite some slight scratchiness of ensemble and tuning in the upper strings in the opening pages, this is a strong performance, tauter and more purposeful than Tamás Vasary (Chandos, 5/91 – nla) or Hogwood.

Sandwiched between the two is the delightful Second Serenade (1932), scored for string orchestra and inhabiting the joyful folk world of the ballet Špalí∂ek. Thrown off with élan, music and performance spotlight the splendid engineering that is an unobtrusive delight of this excellent disc. Recommended.